Listening To Percussion

For each section of the orchestra, I will listen to at least two movements of all three pieces of suggested listening. I will also endeavor to find videos of live performances of everything I listen to, so that I can put a 'face' to each sound that I am hearing.

Varèse - Ionisation

This piece of music for percussion was reminiscent of other more modern works I've listened to since starting this course. It has a 'dreamy' atmosphere rather than a more distinct rhythm or melody. There are times when a clear beat can be heard, but at most times not. However it is easier to follow when you can see the conductor.

It was difficult for me to detect any kind of form, but it was interesting seeing such a range of percussion instruments (and a wind-up siren) interact together and form the complete work. It was amazing to see sometimes how little each instrument actually did at any given time, but how it contributed to the overall picture.

I watched this performed on YouTube in high definition with some good quality headphones, and it was quite the experience, so I can imagine that seeing it performed live would be the best way to experience this music, and be able to fully appreciate it. I did enjoy listening to this, however I still do find this kind of music very odd, as its not something I had listened to at all up until two months ago. I expect that more exposure to this kind of music will help me to learn more about it, and enjoy it more.

Steve Reich - Drumming

Second Movement - This piece was something I had been exposed when introduced to Steve Reich earlier on the course, so I was familiar with the concept, however this time I watched a recorded live performance and paid more attention to what was going on.

This movement was performed on three sets of what I think were marimba, with some occasional female vocals. The timing was quite amazing to watch, with the performers having to be very exact. To whole thing portrayed a well-oiled machine or factory production line.

The music is relentless, with no break in the forward movement. This would ordinarily be uncomfortable to listen to, however it does become strangely hypnotic and timeless.

At about seven minutes all four players move to one instrument, and a fifth player joins in on another. At about fourteen minutes, four more players join in, expanding the texture and creating a flurry of beaters. It was interesting to try to pick out individual players and melodies. There were some parts that sounded like water droplets trickling over the base rhythm.

Bartók - Music for Strings, Percussion and Celesta

I was already familiar with some parts of this work, specifically the third movement, as it was used in the 1980 film "The Shining".

The first movement portrayed a "swirling" rhythm, with a strong bass line. As with the whole work, the strings had the majority of the work-load, however percussion was used very effectively, for example the use of timpani at the climax of the movement at about six minutes. It has a strange tonality that gives an eerie sound; this appeals to me as I enjoy the 'dark' side of music. There is use of short and fast repetitions on the high notes of the strings, and this idea is also used in some later movements. I feel this movement sets the tone for the whole work.

The second movement is in a dance style, and contrasts with the first. Again there is sparse but effective use of percussion, used for emphasis. I noticed the use of the snare drum used in both modes - with and without the snare in place. The celesta is used in the movement, often in conjunction with the harp. The side drum also makes a brief appearance, but is not heard much in the rest of the work. Extensive use of plucked strings was also a feature of this movement.

As I was watching this is a recorded live performance, in the third movement I was able to identify which instruments were creating the sounds I'd heard when listening to this movement previously. I was particularly intrigued to notice that the 'bendy' notes that can be heard are produced by the timpani, as I was unaware that the timpani were capable of doing this. I was unable to see how to pitch was altered due to the positioning of the instrument on the video, however a little research revealed that the use of a pedal enables the timpani player to change the tension of the head, and in turn the pitch, in real time.
This movement made much more use of the xylophone and timpani than the others, and the celesta was used again. All instruments combine to create a superb climax at about four minutes, with the aforementioned three instruments coming together and proving truly convincing.

The final movement has a definite folk influence, with a break from the oppressiveness of the third. The piano is used extensively here with the percussion back into a supporting role.